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AF Folleto JOANIE LEMERCIER INGLES.Indd BROCHURE EXHIBITION TEXTS JOANIE LEMERCIER LIGHTSCAPES 11 February - 25 July 2021 COVER Joanie Lemercier. Fuji, 2014 JOANIE LEMERCIER. LIGHTSCAPES LEMERCIER. JOANIE © Studio Joanie Lemercier Joanie Lemercier. Lightscapes Joanie Lemercier (Rennes, 1982) is a French visual artist whose work focuses on exploring and expanding the possibilities offered by the projection of light in space. A pioneer in the artistic use of video mapping and co-founder of the AntiVJ colletive in 2008, Lemercier has based his personal research on the creation of pieces that use light to produce experiences that alter our perception. Through computer programming and the manipulation of devices, he has been able to turn projectors into a source of light capable of transforming the appearance of things, leading us to question our concept of reality. “Light as a medium, space as a canvas” is the underlying premise that has led many of his projects. With his concern for transcending the two-dimensionality of a flat screen, Lemercier has experimented with projection onto materials as varied as wood, glass, paper, and ceramics. In recent years, one of his most notable advances has been the dematerialisation of the projection surface, working with transparent materials and water droplets. Curated by Juliette Bibasse, director of Studio Joanie Lemercier in Brussels, the exhibition highlights the importance of nature in Lemercier’s practice and life, and reflects on the representation of the natural world through technology. In this exhibition, the artist´s first major solo show, visitors embark on a journey through a series of landscapes that transport us from the contemplation of refined abstract lines and the fascination for majestic computer- generated mountains to the devastating reality of an overexploited environment. The first part of the exhibition brings together various types of landscapes that reveal a particular paradox: the attempt to grasp the spectacular beauty of nature, which has not been captured by humans, through the use of digital tools. Thus, geometric views show a bewildering interplay of spaces, shadows and volumes. Such is the case of Edges, which introduces Lemercier´s key elements of expression at the core of his early years of practice – grids, geometries, and lines. While the landscapes we see throughout the exhibition progressively become even more complex and realistic, these essential elements remain. Thus, mathematics and code shall often form the basis of extremely elaborated computer-generated pieces. Joanie Lemercier. Edges, 2020-2021 © Studio Joanie Lemercier Further in the exhibition, we shall discover landscapes inspired by ancestral legends and personal experience, as well as imaginary geographies that stem from the collaboration between man and machine. In Montagne, cent quatorze mille polygones (Mountain, one hundred and fourteen thousand polygons), a piece depicting a large valley surrounded by mountain peaks created with an algorithm-distorted grid, Lemercier blurs the line between what we consider to be real and the simulation generated by mathematical functions. Meanwhile, Eyjafjallajökull and Fuji comprise two installations from the volcano series in which the idea of the Sublime, or the overwhelming grandeur of nature, begins to emerge in Lemercier’s work. As Juliette Bibasse says, “at the heart of Lemercier’s investigations lies the German Romantic school of painting that follows Immanuel Kant’s theory of the interpretation of the Sublime. This “beauty blended with fear”, in which the absolute transcends all sense of scale, inverts the established hierarchy between man and landscape. While beauty seems concrete and limited, the sensation of sublimity takes us to towards the unlimited, which exceeds our capacity for representation and conceptualisation.” Joanie Lemercier. Montagne, cent quatorze mille polygones, 2016-2018 © Studio Joanie Lemercier In contrast to the fascination created by digitally “manufactured” environments, the second part of the exhibition shows the reality of a nature full of scars caused by human overexploitation. Through a series of colossal images captured by drone, Lemercier leaves fiction behind to highlight the staggering and urgent need to safeguard our environment. In the words of Juliette Bibasse “humankind bestows on us the capacity to be moved by the infinite. However, this exaltation of the self has a critical reverse side that aspires to omnipotence: a conceptualisation of the world centred in man and our perpetual quest for dominion over nature. Anthropologist Philippe Descola has criticised our cultural relationship with the environment as if it were a “passive accompaniment that embellishes human activity”, highlighting the urgent need to bring about a paradigm shift.” The Hambach Forest and the Technological Sublime arose from Lemercier’s personal experience, when back in 2019 he visited Hambach, the largest coal mine in Europe less than 200 kilometres from Brussels, where he discovered a 12,000-year-old forest surrounding the site. Today, the Hambach Forest has lost 90% of its former size due to the expansion of a mine that emits around 270,000 tonnes of CO2 every day, becoming a symbol of the fight against climate change and the preservation of biodiversity. With this piece, Lemercier began a new creative stage in which his artistic work sought to reflect on sustainability and how to foster positive action to counter global warming. Contemplation would thus lead us to reactivate our ability to see the world and renew our commitment to it, understanding how art invites us to imagine and construct new realities. Joanie Lemercier. The Hambach Forest and the Technological Sublime, 2019-2021 © Studio Joanie Lemercier Main Exhibition menu texts JOANIE LEMERCIER. LIGHTSCAPES 1 2 3 4 5 6 7 Main menu Introduction In his first major solo exhibition, Joanie Lemercier (Rennes, 1982) immerses the viewer in a journey through different landscapes that transport us from the contemplation of refined abstract lines and the fascination caused by magnificent computer- generated mountains to the disturbing reality of an overexploited nature. A pioneer in the artistic use of video mapping and co-founder of the collective AntiVJ in 2008 Lemercier then established his own studio in 2009 (based in Brussels since 2015) to focus on creating pieces that use projected light to generate experiences that alter our visual perception. Through computer programming and the manipulation of devices, Lemercier manages to turn projectors into a light source capable of transforming the appearance of things and making us question our conception of reality. “Light as a medium, space as a canvas” is the premise on which this period’s body of work is based. This exhibition, curated by Juliette Bibasse, addresses the importance of nature in Lemercier’s life and artistic practice, and reflects on the representation of the natural environment through technology. The first part of the exhibition brings together different types of landscapes that reveal a particular paradox: the attempt to grasp the spectacular beauty of nature, which has not been captured by humans, through the use of digital tools. These include, first of all, geometric views that show a bewildering interplay of spaces, shadows and volumes. Further on, we discover landscapes inspired by natural sites, ancestral legends or personal experiences, but also imaginary geographies born from the collaboration between man and machine. In contrast to the fascination generated by digitally “fabricated” environments, the second part of the exhibition reveals the reality of a nature full of scars Exhibition texts caused by human overexploitation. Through colossal images captured by drone, in the hope of reawakening our ability to see the world and commit ourselves to it, Lemercier abandons fiction to confront us with the overwhelming urgency of safeguarding our environment. He thus initiates a new creative stage, in which contemplation can become the preliminary step towards action and in which art has the capacity to lead us to the construction of new realities. Exhibition texts 1 Edges 2020 - 2021 Visual installation. Video projection on three surfaces 5’ Edges fuses a simple architectural structure with minimalist geometries of projected light. Joanie Lemercier explores a dehumanized technological landscape, where interconnections and dense networks create confined panoramas. The visual vocabulary is made of simple geometries and shadows organized to play with our perception of space, creating sometimes three-dimensional sensations and dynamic planes. Edges introduces the visitor to Lemercier’s key elements of expression: wireframes, grids, geometries, thin lines, all of them ingredients at the core of his early years of practice. Walking through the exhibition, visitors will discover even more complex landscapes and realistic textures, while basic elements remain rather similar. Thus, simple code and mathematics shall often form the basis of extremely elaborated computer-generated artworks. Production: Juliette Bibasse Exhibition texts 2 Montagne, cent quatorze mille polygones Mountain, one hundred and fourteen thousand polygons 2016 - 2018 Visual installation. Digital print on paper and video projection 5’ This piece depicts a large valley surrounded by mountain peaks. In fact, what we really see is just a grid mesh distorted by an algorithm. The procedural landscape questions the connection between nature and code: what if our reality could be recreated
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